Ideas of time and place are central to my practice. Through abstraction, I explore the passage of time and the transient nature of everything within and around us—from materials to memory. Living in a northern country, I am deeply aware of seasonal cycles and shifting landscapes—periods of accumulation, erosion, freezing, and thawing—that shape both the natural and built environment. My work reflects an ongoing interest in how time is both accumulated and erased, and how traces persist even as forms dissolve.

Working primarily with oil paint and cold wax medium, I build and disrupt the surface through layering, scraping, and dissolving. These processes create complex strata in which earlier marks are partially buried and later revealed. The resulting surfaces evoke cycles of compression, weathering, and exposure, allowing each painting to become a record of its own making.

A key tension in my work lies between heavily textured and smooth passages. Dense, tactile areas suggest accumulation and memory, while more fluid, atmospheric zones evoke erosion, drift, and impermanence. These contrasting surfaces coexist and overlap, reflecting time as a cyclical and unstable process—one that continually shapes and reshapes what we see, know and feel.

Colour plays an essential role in this exploration. I am drawn to a restrained, organic palette—muted greens, chalky whites, deep blacks, and earth tones—that suggests states of transition such as growth, decay, bleaching, and oxidation. Rather than fixed identities, colours function as traces of change, recording the effects of time acting upon matter.

My work seeks a balance between simplicity and complexity, materiality and stillness. I think of each painting as a form of visual meditation—an invitation to pause and reflect. Each piece holds multiple temporalities at once: what is visible, what is concealed, and what has been altered through time.